Saturday, 28 November 2015

Oneohtrix Point Never released an EP earlier this year, and the first track on it was essentially a Slayer track rendered entirely in MIDI instruments. I was hooked, needless to say - hearing one of my favourite electronic music producers channeling the Doom theme song scratched an itch I never knew I had. I mention this because this here release is most definitely in the same vein, and more - and I'm beyond stoked it exists.Admn2 sounds like the your favourite electro pop band merging with thrash metal, industrial metal and synth-punk. The end result is vaguely dystopian and robotic, yet upbeat and infectiously catchy. Distorted electronic guitar riffs are played off against soaring synth lines and pop hooks, and by jove it works damn you! Special mention in particular goes to closing track Last-Screamed Thing, ending the album brilliantly with a bona-fide pop banger which recalls both HEALTH's more recent output AND Yellow Magic Orchestra - while remaining totally original in its own right.
MIDI-thrash-synth-pop may not sound like your cup of tea, but if you're interested in experiencing this somewhat niche (i.e non-existent) genre, this here is more than definitely the best place to start. What's more it's free on bandcamp, which is fucking excellent AND it also means you have absolutely no reason to not click that link below and get down to some A-Grade hacker music.

TRACKLISTING:
1. Never Wanna (Go There)
2. Blood Painting
3. New Floating Body
4. Bad People
5. I'll Fix it Later
6. I Have a Scream
7. New Ways of Killing
8. New Way of Dying
9. Last-Screamed Thing

Hey there folks, day going well so far? Currently free of any niggling doubts, lurking worries or creeping anxieties? Yeah? Then please, by all means, read on...
What we have here is a collab between Industrial/Neo-Folk artist Current 93 (you should know them by now gosh) and horror writer Thomas Ligotti (famous recently for allegedly being plagiarized by True Detective writer Nic Pizzolatto). On In A Foreign Town... Current 93 provides haunting soundscapes and intermittent narration of Ligotti's short story of the same name in easily one of the most sinister recordings I've ever had the pleasure of listening to.
Dense drones, eerie chimes and other miscellaneous samples and sound effects pulse and seether underneath David Tibet's ethereal narration, delivered of course in Tibet's singsong English accent.
The track's progress in a dreamlike fashion, albeit a slow burning, nightmarish dream that's goes from quietly terrifying to soul crushing abandon throughout its duration. This release belongs firmly in the Stalaggh/Penderecki/Mariah Carey category of sonically/emotionally disturbing.
I've probably talked up this release enough - so it goes without saying that I think you should click that there download button below and see what I'm gabbing about. This is seriously top tier dark ambient, and I'm just itching to ruin your good mood with it.

TRACKLISTING:
1. His Shadow Will Rise To A Higher Place
2. The Bells Shall Sound Forever
3. A Soft Voice Whispers Nothing
4. When You Hear The Singing, You Will Know it is Time

Thursday, 26 November 2015

I've been meaning to post my rip of this tape for months (it was in my mid-year round-up!) and for some reason I always get sidetracked or start on something else. No more, now is the time to give you some dirty punk that feels like the musical equivalent of a low budget 80s action flick in which everyone wears sunglasses and leather jackets; and it probably stars Kurt Russell.

At its surface, this demo could be mistaken for nothing more than badass punk with choppy, gnarly riffs, and which makes sure to bring both ragers and jammers to the table. However, there's actually much more going; weirdly timed drum fills, progressions which seem to change mid riff, a Beach Boys song leading into the first track, and many other oddities all make for a tape that has a lot more to offer than your typical, gritty hardcore punk demo. The Drip's ability to sound strange in a way which doesn't feel forced is something a lot of bands should pay attention to. If something on this tape feels off, it was meant to be that way.

Wednesday, 18 November 2015

Smegma is an unpleasant human dairy product created by the churning of unwashed genitals. It's also the name of a fabulous 'Los Angles Free Music Society' group founded in 1973. Since then There have been over twenty members of Smegma most with names like 'Cheesebro' and 'White Mohammad' who's actually present on this recording. The First song on Smell the Remains, 'Potatoe war', sound like Sun Ra making meme music but it gets much better after that. For every faux apathetic band of carefully manicured tumblr kids like 'Teen Suicide' There's a member of Smegma with actual disinterest. Nothing on this album is musical. Smegma's main sound resembles Naked City 'Do Re Mi Fa'ing their instruments before a show but there's also some early 'noise' on the track Beauty School (quite possibly just a metal trashcan being abused) along with tribal drumming, Plunderphonics, some disembodied Ho-down style thumping which seems lost (it was probably meant to be ironic), and then there's the lyrics. Pigface Chant is the best example of the songwriting on this album. It's about a pig-humanoid creature whose kept in a zoo and refused toilet paper. At the end of the song he runs away from the zoo to get his pig dick sucked by cows. If that appeals to you at all then check this album out!

Hi everyone I'm Xander and I'm going to write a few reviews for my favorite blog. Sutcliffe Jugend basically borrowed whitehouse's idea of dedicating songs and whole albums to serial killers and took it to a new extreme. Peter Sutcliffe "The Yorkshire Ripper" killed thirteen women and tortured seven. This tape's first twenty songs are 'dedicated' to the ripper's victims, with Kevin Tomkins (sometimes a member of whitehouse) giving Frankie Teardrop worthy screams over oppressive noise oscillations accompanied with sharpened piano keys, screeches and something like a barbed hissing kazoo.You get the impression that each track on this thing could have easily extended into an hour long piece of wall noise by someone less ambitious like 'music for apathetic people' or maybe 'NON'. I recommend you listen to it while looking at the cover art or just not listening to it at all.

I vaguely recall someone requesting a Homopolice post in the comments somewhere, so in typical delayed fashion - here it is!
(If you've made it this far without becoming entranced by the artwork, good job)
Homopolice were a four piece band from Houston, Texas who played pummeling Stooges-esque noise rock. Combined with what some may say is ''''''offensive''''' lyrical content and highly rhythmic, repetitive nature of their songs, The Homopolice are almost like a slightly less morally questionable Brainbombs, but with more harsh noise and hardcore influences seeping in (note the GISM cover). This is dirgey, nihilistic filth at it's best folks - leather clad walls of distortion and riffs lurching around and collapsing in on itself every couple of minutes or so.
Contained below are the three Homopolice releases I could track down - a demo (which contains the excellent 15 minute long 'I Hate Everybody'), a 7" and their split with fellow sweaty man enthusiasts Black Leather Jesus. Smash that fucking download button and go huff some amyl.

Prurient has given us three releases this year, and this post contains the two that aren't Frozen Niagra Falls. Both releases here show considerable departures from his current style, so if you've come here via FNF you may be in for a bit of a surprise.
Let's start with Unmasking The Insect. Probably the personal favourite of the two for me, these five tracks see Prurient dabbling in minimal, washed out power electronics and droning industrial soundscapes. It recalls some of the disturbing, clinical qualities of Atrax Morgue's output with the lo-fi textures and atmospheres that Posh Iso/Chondritic Sound have been peddling. Really great stuff, and always a pleasure to hear Prurient's more minimal and structured output.Cocaine Daughter on the other hand is just one big ole slab of dense, metallic noise. Harsh walls of synth, feedback manipulations and swathes of white noise are the name of the game here. Cocaine Daughter isn't too far off from Exploring Jezebel levels of texture and grit, and is utterly uncompromising throughout its run time - which happens to be 80 minutes. Oooft.
Both releases, in nice separate download folders no less, are waiting for you to get yer grubby mitts all over them. I doth implore you to listen to both.